“Ultimately my aim was to investigate the type of rule-based composition strategies that were pretty new to me at the start of the project, while allowing plenty of space for the guys to do their thing and bring it all to life.”
Steve Barry’s recent writing has evolved a highly individual and idiosyncratic language that colours the logic of his melodic line. Harmonically he has become even more adventurous, and rhythmically he plays with time and the stretching of time in truly eye and ear-opening ways.
“When Jackson first recorded – with the subtle and distinctive Trio Apoplectic – I was not the only one who found a surprising echo of the floating lyricism, unusual intervals and limpid sound of Paul Desmond…”
Alluvium (Alluvium Records) May 2014 Tiny Hearts Review by Mick Paddon Jazz and improvised music is performed in a wide variety of combinations of instruments – they range from musicians playing solo (most commonly on piano or guitar, but I have strong memories of a performance on a snare drum and high hat by Max …
Rivett has broken cover not with yet another musical artefact from a schooled and accomplished improvising musician, but with a true work of the imagination.
Each year since 2005, in the month leading up to the jazz festival in Wangaratta, Miriam Zolin interviews the finalists in the National Jazz Awards. The awards are decided at Wangaratta in a series of heats culminating in a finals performance on the Sunday of the festival. Wangaratta Jazz Festival in 2013 runs from Friday …
On the strength of his eponymous debut album, Steve Barry, I get the feeling we will have to do as we did with the Finn brothers and Rusty Crowe (and any other frighteningly talented Kiwi) and willingly refer to him as the Australian pianist and composer Steve Barry. The album really is that good.